Herstory of Herassment.

Link to today’s strip

Stuckfunkian commenter Scott Lovrine guessed last week that Ruby Lith may be based on Ramona Fradon, who worked on Aquaman and Metamorpho. The visual resemblance is very strong both in the past and currently. But from my research Ramona didn’t time in ‘the bullpen.’

I believe that Marie Severin and I were the only women drawing superheroes at the time [50’s]. It’s funny that she was drawing Sub-Mariner while I was drawing Aquaman. People always used to ask me if I knew her, but I didn’t meet her until years later, at a convention. I didn’t work in a bullpen like Marie did so, aside from being uncomfortable with male fantasies and the violent subject matter. I never really experienced what it was like being the only woman working in a man’s world.

Marie, who did work in an office with men, talked more about feeling slightly isolated or left out rather than harassed. The only story I could find her recounting was a male college blowing on the back of her neck.

In that case, comics have always been a rather male dominated field, and you, like Ramona [Fradon] are one of the two reigning queens. How many other women were there at Marvel at the time doing art, and did you ever have any problems with “the Bullpen” or anything like that?

MS: Not really, the guys, they say that women gossip, well networking is male gossip, and they “networked” all the time. But, just like we wouldn’t want a guy when we were sitting around talking about somebody’s shoes, or a certain eyeliner, they weren’t interested in having a woman around, and sure, I’d have lunch with them once in a while, but the conversations were always male; it was just normal. So, you’re sort of out of it. I didn’t have any real problems.

But that brings us to Lily Renee. If Batiuk wants to claim that Ruby Lith is based on any one woman, Lily Renee is the option that closest fits his ‘narrative’. And she also has a physical resemblance.

Lily Renee worked in the 40’s as a penciler and inker for Fiction House. She was Jewish, from Vienna, and had immigrated alone, at the age of 14, first to England then the United States to escape the Nazis. When her parents joined her a couple years later she took up a job in comics to help support her family. The men in the office teased her, tried to teach her dirty words in English, and drew nudes in the margins of the work she was supposed to ink. But she wasn’t the only woman working in the office. There were many women working for Fiction House at the time, and she was on good terms with most of them. She would regularly go out for lunch with Fran Hopper, and at one point, she lived with artist Ruth Atkinson for about a year.

Unlike Batiuk’s fantasy Ruby Lith though, Lily just did it for the money, and after leaving the comics industry in 1949, went to work on other things; illustrating children’s books, writing plays, and working in fashion.

So, big surprise, sometimes it was uncomfortable being a woman in a office predominated by men. Sometimes the women were ‘left out’, sometimes the women were teased. Sometimes it led to much drama that weren’t black-and-white cases of sexual harassment. The inker Violet Barclay, by her own admission, flirted with men in the office leading to acrimonious feelings and love triangles.

Barclay’s complicated relationship with benefactor Mike Sekowsky — who bestowed expensive gifts on her even after his marriage to Joanne Latta — caused friction in the Timely bullpen, which she left in 1949. As she later described the office environment,

“Mike was a very good human being. Everybody at Timely liked Mike. Nobody like me because they thought I was doing a number on him. Which was true. World War II was on and there were no men around, so I just killed time with him. Everybody, Dave Gantz especially, picked up on that. … [Mike] once tried to get me fired over my fling with [Timely artist] George Klein. Mike went to Stan Lee and said, ‘Stan, I want her fired, and if she doesn’t get fired, I’m going to quit’. Well, you couldn’t ever tell Stan Lee what to do. Stan said, ‘Well, Mike, it’s been nice knowing you’.”

Not all sexual harassers got off scott free either. Toni Blum, who worked for Quality Comics in the 40’s, was treated respectfully there except for an incident between two male artists, wherein one punched another in the face. As historian Denis Kitchen wrote, “[George] Tuska, like [Will] Eisner, had a crush on office mate Toni Blum but was too shy to make his move. The actual provocation that inflamed Tuska, Eisner privately said, was [Bob] Powell’s loud assertion that he ‘could f**k [Toni Blum] anytime’ he wanted. After decking Powell, Tuska stood over his prostrate coworker and in a voice Eisner described as Lon Chaney Jr. in Of Mice and Men said, ‘You shouldn’t ought to have said that, Bob.'”


Filed under Son of Stuck Funky

11 responses to “Herstory of Herassment.

  1. Here Tom Batiuk falls flat on his face again. EVERY boy, once he reaches adolescence, knows how to draw boobs.

    Again I have to commend the amount of work you’ve put into this week, CBH. I’ve learned a lot, and it’s fun reading your work.

    The situation reminds me of those times in grade school when some kid got up to do a report, completely hashed the subject matter, ending up muttering and shuffled back to his seat. The next student (you, in this case) completely refutes the other argument using facts and reason, and earns the applause of the class.

  2. Epicus Doomus

    As I keep pointing out, “Ruby was a female in the 1950s era comic book business and it was hard” is a premise, not a story. How she overcame it (or how she quit and became a weird recluse for sixty years) COULD be a story, if told by someone with even a passing interest in writing one. He’s just stuck on this one aspect of Ruby’s “story”, a sort of odd and mildly disturbing aspect which is shining a (admittedly dim) light on a problem all right, just not the one he’s thinking of.

    I mean including gender bias in the story makes total sense and rings true, but just pointing it out over and over isn’t a story at all. What was so great about Ruby? Did she overcome that bias and prove the men wrong? If so what happened after and if not, why? What were the comic books about? What made them special? Instead he’s busy making boob jokes and flogging his premise into a pulp, again. He’s the laziest “writer” alive by a huge margin.

  3. billytheskink

    Unlike Bob here, TB is great at drawing boobs – Les, Durwood, Funky, Mopey Pete, Mason, Cliff, Crazy, Bull, Buck, Martin Johns, Owen, Cody, Bernie, Thatsnought, Jff, Crankshaft, Max, Max Axelrod…

    Between FW and Crankshaft, he’s drawn almost too many boobs to count. Throw in John Darling and… sheesh. He should have just titled Darling “Boobs”.

    • spacemanspiff85

      I get the strong impression he’s drawn Lisa’s boobs quite a bit, which is probably where he got his Grand Idea from.

  4. Paul Jones

    The sad thing is that he’s doing the same thing he did back when he was in his area of actual competence: repeating the same clichéd theme over and over again as a substitute for an actual narrative. Endless examples of the Scapegoats being a lousy team, Les being a social maladroit too stupid to understand social norms or Ed Crankshaft being a whizzled up old coot who can’t do anything without inconveniencing people is one thing. Yapping “Ruby had a hard time because she’s a woman” is not a story.

  5. Rusty Shackleford

    Did Mindy take a dip in the Mikvah? She’s speaking Yiddish now.

  6. Banana Jr. 6000

    Compare this arc to when the Bloom County characters went on strike. That was also borne out of the author’s frusteation with the industry, but it had, you know, a story. It was a character-driven plot based on everyone’s reactions to the situation. It had funny drawings, like Opus throwing eggs at Steve Dallaa for crossing the picket line, and a selection of poorly-suited scab replacements for the main characters. And thecwriting had actual punchlines. I’M NOT GOING BACK TO BOUNCING IN BALTIMORE.

    Point is, it’s possible for a creator to indulge himself and still put on an entertaining story.

    • Rusty Shackleford

      Yeah Breathed is great. When he wanted to start drawing again, he just jumped on Facebook and started publishing his own work. Now he’s on GoComics.

      No mindless musings about secret sauce, he just started drawing/writing again.

  7. Professor Fate

    As elsewhere noted there isn’t a comic book artist worth his or her salt who can’t draw boobs.
    Still one wonders if this perhaps was one of the things said to the Author about his artwork back when he was trying to break into comics.

  8. Banana Jr. 6000

    You know what this strip really gets wrong?

    It doesn’t show us the poorly drawn boobs.

    That, by itself, is funny. More so if you stage the joke right. Have young Ruby hold up the drawing, so we can see the boobs don’t match hers. And give the artist a doubly embarrassed look, both for getting caught and being unable to draw. Throw in some amused onlookers. That would have gotten a laugh! Especially in the middle of such a grim story. The oppressed female would have dished out some justice to her oppressors.

    Calvin & Hobbes got laughs out of a never-seen “noodle incident”, but I don’t think that approach works here. This is a visual joke, and therefore funnier if we can see it. Also, this story has failed to give us anything to fuel our imaginations. C&H gave us so many outrageous visuals that the idea of something too weird to show really hot us wondering. This strip gives us nothing but word balloons.

    Yhis strip runs on “tell, don’t show, then tell some more.” Which prevents both the setup and the execution of what should have been a funny scene.